Female Abstractions

In the Female Abstractions, Jack Acrey masterfully combines his superb control of the photographic elements, (purist vision, light, film and camera), with an exceptional model to produce a glowing study of the female form. By manipulating the film and development, Jack compressed the tonal range of the subject to exercise complete control of the range of light and shadow, exaggerating the contrast, and emphasizing the positions of soft and hard forms with depth of field. The image ceases to be familiar, becoming a dream-like mélange of form glowing with an inner fire inspiring the viewers contemplation.

Jack, despite his outdoor reputation, has a great love and appreciation of the female form and the intimacy of studio work. His initial start with commercial glamour/fashion models resulted from the many black-tie party conversations he had with the “beautiful people” while photographing the World’s racing circuits and launched with Revlon lipstick. He patiently developed a new style, which sold well for the company, and the approach was soon in high demand by other fashion icons and magazines leading to a steady production of assignments.

This work with the World’s most beautiful women ignited the desire to create a series of Artistic Nudes that celebrated and did not exploit the female form. The artistic vision incubated for thirty-some years, accumulating life experience in the art of photography, and resulted in the initial series presented here. Jack does not resort to a tawdry demonstration of women’ sexuality by explicitly revealing the erogenous zones, rather, he creates mystery by concealing the model’s features or identity.

The search for the model took almost as long as the birth of the vision. Many women applied for the job, but were eliminated for their various flaws or marks. After many interviews, Jack chose an athletic cowgirl (champion team roper, and model), and proceeded to make over a thousand test shots during a period of two weeks.

Since then, Jack has turned down numerous requests by other models and female customers to privately replicate the series, refusing to commercialize the technique in order to preserve the originality and value of this unique work.

"The female form presents a complicated challenge for an artist. Nothing in all of creation rivals the attraction of the female shape and form. I admire women so much that I would never want to exploit them, so my challenge is to respectfully represent their great beauty. The "Female Abstraction's series" was under development for over ten years. In the late 1990's, I started looking for the perfect model. I rejected many and finally found the one I had pre-visualized for the series, a professional model and cowgirl. The rest is history as the above ten images indicate. The "Female Abstraction's series" will be an ongoing series, as I continue to explore my fascination with the female form. - Jack Acrey

This series is a return to an indoor studio for Jack. The images were created on Sept 1, 1998 in Jack's corporate house / studio in Santa Fe, NM.

Jack used a Hasselblad 500CM camera body, Zeiss Sonnar f4 150mm lens, Bogen tripod mounted on a Bogen Auto Dolly, Bogen Background holder system, Photec Black Felt light absorbing background, Speedotron Black line 2403CX power supply with (2) 202VF light units. (1) Large HV3 Photoflex Multidome softbox (36" x 48") and (1) 39" Photoflex translucent umbrella for controlling light. The Multidome and translucent umbrella were on Red Wing light booms fitted to Mathews Medium Roller stands.

After several years of trying various printing houses with large million dollar printing presses, no one could match the tonal range of the Female Abstraction series. We are now digitally printing the 24 inch by 30 inch, Fine Art Photographic Print, non-limited, unsigned and available for ordering. This print is covered with tissue, rolled and inserted in a sturdy triangular mailing tube. Shipped FEDERAL EXPRESS-EXPRESS SAVER (can only be shipped to a street address).

Acrey's fine art, limited edition, photographic prints, both B/W & Color, are digitally printed using the LightJet 5000 laser printer on Fuji Color Crystal Archive photographic print paper for print longevity (80 to 100 years). All prints are inspected and signed & numbered personally by Acrey and a certificate of authenticity is included.

SMALL PRINTS – mounted only (for matting & framing)
Small prints are printed in one size within the limited edition of each image. The size is the exact proportions by 20 inches. The fine art photographic prints are cold mounted (no heat) with a neutral pH balanced adhesive onto white 3/16 inch gatorboard with four inch borders on the left, top, right, and a six inch border on the bottom. The mounted print is covered with tissue, sandwiched between two pieces of cardboard, insured and shipped in a cardboard box, FEDERAL EXPRESS-EXPRESS SAVER (can only be shipped to a street address).

LARGE PRINTS - mural sizes #1, #2 and #3 (no matting or framing needed)
Jack’s “larger-than-the-West” prints are printed in one, two or three sizes within the limited edition of each image and require no matting or framing. The fine art photographic prints are sealed with an optically clear, satin, mylar, lamination. Not only does the lamination seal the print from dust and moisture, but it also filters out 85% of the harmful UV light, care and cleaning instructions. The laminated, fine art photographic prints are cold mounted (no heat) with a neutral pH balanced adhesive on to 1/4 inch, MDF substrate, flush with the edges. The edges are painted black. A French Cleat backing frame is attached to the back, complete with hanging bar ready to hang. The mounted print is covered with a sheet of foam, sandwiched between two pieces of cardboard, insured and shipped in a custom built wooded crate, FEDERAL EXPRESS-EXPRESS SAVER and those that are oversized, FREIGHT/CARGO by truck (can only be shipped to a street address).